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Moods & Grooves proudly welcomes the return of one of Detroit’s best multi-talented producers, Andrés.

“Out In The Open” released in 2002, established Andrés's identity as many assumed he was an alias of Kenny Dixon Jr. He’s finally back with a full release for Moods & Grooves after a couple of dope remixes of Cool Peepl and Jason Hogans/Paul Randolph.

“Back In The Open” chops up a classic hit along with a few unknowns that will keep the floors moving throughout the night.


A1. Tonight, We Rise
A2. Revolution
B1. Lisbon Love
B2. Welcoming Committee

New Andres 12" on Magohani featuring a brand live version of his killer hit "New 4 U" b/w a brand new track - "Praises". Featuring his extensive MPC percussion work and dollops of gentle piano, it's paired with one of those invigorating and empowered gospel vibes to absolute perfection. Well timed for the big unleashing of energy that's due to spill out over the dying days of Summer; if you're lucky enough to be heading to a festival this year then I'm sure you're bound to hear this soundtracking some pretty epic daytime sessions.

As for the live version of "New For U" it's a rapturous and musical expression of this certified gold standard as you might expect. Twisting it from its sample-based origins into a soulful & highly frenetic jam - the extra vocals and percussion really give it some extra legs. Again, will sound great as the sun dapples across your face in a green and lush pasture.

Limited copies. 


Matt says: Detroit's big digited, slack trousered MPC grandmaster returns but with no MPC in sight on a new, live version of his classic hit "New For U". "Praises" sees his effortless Akai sampling reach its natural zenith - rolling out another casual mini-anthem for the festivals, bars and bouji beach wedding. TIP!


A1. Praises
B1. New For U (Live)

The second album from Brighton based Balearic duo Andres y Xavi. This time with a little help from Rolo McGinty of Peel faves and Balearic Beat legends The Woodentops. This is a love letter to the forgotten side of Ibiza: dusty lanes, olive groves and clearings with sea views that go on for miles.

10 original compositions plus a cover of Talk Talk’s Renee.

The self released and distributed first album found favour with Balearic DJs across the world. Lead track ‘My alibi’ was picked out by the likes of Kenneth Bager, Danny Psychmagik and ‘Never seen Ibiza’ was a firm favourite of Phat Phil Cooper and Balearic Ultras.

Rolo adds guitar and vocals and a Woodentops vibe to two tracks on the album ‘What do you see in me?’ and ‘Walking in the sun’, his personal tribute to Jose Padilla.

First album received support from Kenneth Bager (Music for Dreams), Phat Phil Cooper (NuNorthernSoul), Chris Coco, Mike Salta, Leo Mas, Balearic Ultras, David Pickering (OneMillionSunsets) and many more!

And was described by Dr Rob (Ban Ban Ton Ton) as "Smokey Muscle Shoals organ plays, strings swoon, and Kosmische synths blink like distant stars... an overall “vibe” somewhere between Mo`Wax and the Sunday Best of Bent and Dan Mass... adorned by cascading Indie “neo-acoustic” guitar jangle. Like The Stone Roses by way of Horsebeach.


Patrick says: Brighton's Balearic flagbearers Andres Y Xavi mark the start of summer with this glorious sophomore offering, an 11 track stroll down coastal paths to tranquil waters. Blissed out electronics recall the heyday of Downbeat, while the gentle jangle adds a little of that C86 static to these vibrant vignettes.


A1. A Sunny Morning At The Ashram
A2. Out On The Step
A3. Turn Left At The Egg
B1. Good News
B2. Not A Cloud On The Horizon
B3. What Do You See In Me?
C1. Raise
C2. Renee
C3. Perfect Timing
D1. Babel
D2. Walking In The Sun

John Dwyer, Ryan Sawyer, Peter Kerlin, Tom Dolas, Brad Caulkins, Kyp Malone, Marcos Rodriguez, Ben Boye, Joce Soubiran, Laena Myers-Ionita & Andres Renteria


    The same crew as the boundary pulsing improvisation record Bent Arcana has made a trajectory shift and picked up Ben Boye along the path. The aptly-named Moon-Drenched is the second instalment from these sessions and keeps a heavy-lidded late night perspective on things as it eases from the somewhat familiar liminal twilight of skittering hues of black-blue and snaking street groove, to fizzing off into the ether in pursuit of lunar prism beams heretofore unseen. The more rhythmically dialed bits here have a lysergic halo of strangeness to them, and the wispy bits between are spun of iridescent gossamer. It sounds like a frizzled message from a future just filthy with guitar hoots echoing off of neon-splattered high rises, oil-slicked waterways and skittering digital beasts. For Castle Face’s money this is the strangest slice of this last bunch of John Dwyer and his crew’s improvisations.


    Barry says: It's quite the lineup of musicians here, and true to the calibre on show, the tunes themselves are some of the most mind-meltingly psychedelic grooves committed to vinyl. Think JOMF but with a load of coffee instead of acres of weed and you might be somewhere near. Jazzy, loungy, psychedelic and groove-laden, classic Dwyer but with a host of wonderful guests.


    1. Psychic Liberation
    2. X-Cannibal’s Kiss
    3. The War Clock
    4. Der Todesfall
    5. Get Thee To The Rookery
    6. Spoofing
    7. Terra Incognito

    Sufjan Stevens & Timo Andres

    The Decalogue

      Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens releases his acclaimed score for Justin Peck’s ballet The Decalogue via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the New York City Ballet’s 2017 season, is available to the public. 

      The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of the Rabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”

      Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the New York Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

      A singer-songwriter currently living in New York, Sufjan Stevens’ preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), an expansive EP in homage to the Apocalypse (All Delighted People), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz) and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). BAM has commissioned two works from Stevens, a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE) and an instrumental accompaniment to slow-motion rodeo footage (Round-Up). Stevens’ Planetarium, a collaborative album with Nico Muhly, Bryce Dessner and James McAlister imbued with themes of the cosmos, was released in 2017 to widespread critical praise.

      2015’s highly acclaimed Carrie & Lowell explored his relationship with his mother in the wake of her death; a companion collection of outtakes, remixes and demos, The Greatest Gift Mixtape, was released in 2017. The songs “Love Yourself” and “With My Whole Heart” were released in 2018 in celebration of Pride Month, with a portion of the proceeds benefitting the Ali Forney Center in Harlem, NY and the Ruth Ellis Center in Detroit, MI. Stevens also contributed three much-lauded songs to Luca Guadagnino’s critically acclaimed film Call Me By Your Name, including the Oscar-nominated “Mystery of Love.”



      Mia Doi Todd With Andres Renteria

      Morning Music

      "Morning Music" is the first album of instrumental music from Los Angeles - based songstress Mia Doi Todd. It was recorded and mixed by Todd at her Chateau des Chats studio using drum, harmonium, piano, tin whistle, tamboura, acoustic guitar, and bongos. On the tracks "Samai'I" and "Emotion", she is joined by Andres Renteria on cajon, piano, wooden stool, and udu. 'I started recording the tracks that became Morning Music while I was writing songs for my last album, Gea. Lyrics are the most challenging part of songwriting for me, and I enjoyed recording instrumental improvisations as a break from singing and songwriting. I was borrowing a friend's tamboura at the time, an Indian instrument shaped like a sitar but with no frets and only four strings, and I had just found my first harmonium, a small pump organ also from India. Classical Indian music is on many occasions one of my favorite things to listen to, and I started to experiment with these drone instruments and the transcendental experience they can produce while playing or listening to them. I had just finished a tour with the Swedish psychedelic rock band Dungen and was feeling the influence of their captivating melodies and great musicianship. I started playing the Irish tin whistle and using that as a melodic and emotional element instead of my voice, freeing me up from what felt like the confines of words. I began to edit and sculpt the recordings into a series of simple organic tunes. I gave the album to a few friends who enjoyed the calm and meditative attitude which it evokes. They also found the music very conducive to their creative endeavors. I am glad now to share the music with a larger audience.'

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